One of the most exciting parts of finding a new and unique voice in cinema who creates a truly standout cinematic experience, is seeing what they do next. The chaotic and inspired Madeline’s Madeline stood out as one of the most daring and unique projects of 2018. Putting director and writer Josephine Decker on the map for many.
When it was announced that her follow up project Shirley would be debuting at the 2020 Sundance Film Festival, of course anticipation started to build. Which only increased as it was announced the project – which would focus on the horror author Shirley Jackson – would pair Decker up with the likes of Elisabeth Moss, Michael Stuhlbarg, and Logan Lerman.
Where Madeline’s Madeline was an undeniable artistic experience, it also suffered at times from an unfocused narrative and lack of urgency. The first thing that stood out in Shirley was the evolution in Josephine Decker’s craft. Taking her bold and unique filmmaking and focusing it to achieve a stronger outcome and goal than her previous projects.
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Shirley serves as a psychological thriller, character study, constantly questioning and exploring the mental state of Shirley Jackson. Which immediately gives Decker an unhinged direction and purpose, which serves as the backbone of her filmmaking style.
Decker has become a master over her career at using sound and visuals to take scenes and characters out of the real world. And into an uncanny fictional realm. Where it feels like anything could be possible, which serves the psychological thriller side of the film so well. The audience is pulled to the edge of their seats, never knowing what is around the next corner. And never really knowing what is going through the minds of the characters.
Through this ability, the movie is able to accomplish this without any of the cheap cliches which plague so many modern psychological thrillers. The film has confidence. Never needing to jump into dream sequences to throw in cheap scares or jumps, not trusting its gothic world to carry the film and engage audiences.
So much of why this works is because of the technical elements within the film. Similar to their work on Wendy earlier in the year, cinematographer Sturla Brandth Grøvlen gives grounded and raw camerawork. Not afraid to play around with perspectives and angles. Always knowing when to pull in and out when it comes to physical depth for maximum effect.
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The score from Tamar-kali is also beautiful. Perfectly mixing standard big classical swells with unique beats and undertones. Both of these elements find power in the standard and expected motions they start to go through. Only to turn them on their head, giving a unique element that drastically stands out and is incredibly effective.
When the cast list got released with the likes of Elisabeth Moss, Michael Stuhlbarg, Odessa Young, and Logan Lerman, it became clear that the acting would be one of the film’s biggest highlights – a prophecy which came true. Moss continues to have one hell of a year, coming off of her leading role as the tortured Kass in The Invisible Man. She gives another incredibly powerful performance with completely different layers.
Again, Moss is playing a tortured individual. But how the character of Shirley Jackson processes her demons is completely different from Kass. And is another addition to the long list of examples as to why Moss is one of the best actors currently working. Her relationship with Young is also one of the strongest elements of the film. Giving a relationship of inspiration and passion which borders between friendship and more which is enthralling and seductive.
The audience never knows which direction this relationship is going to take. Keeping us engaged and hanging onto every line, despite the stress and constant threat of consequence, which is throughout the entire film.
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The surprise of the film acting-wise comes from Michael Stuhlbarg. Who despite being a fantastic actor, has never had a role to sink his teeth into like this. Playing Shirley Jackson’s husband Stanley, the film constantly highlights the dysfunction and toxicity between these two characters. Turning Stanley into a slimy and gross character, who is able to slide through life with an outside appearance of charisma and likability. Which plays well into what Stuhlbarg traditionally provides in his performances. He spins it around and startles the audience with where it goes.
As expected at this point from a Josephine Decker project, Shirley is an inspired film. One which consistently pushes how it uses nearly every element of the film to create a tense and uncomfortable setting. This also is seductive and seemingly able to cast a spell on the audience. Its pulls you in deeper and deeper, while at the same time pushing you away.
It is an experience that should be felt by everyone, and truly borders on being a masterpiece. Minor issues in the third act, which lacks some of the emotional catharsis that seemed to be on the horizon, but beyond that Shirley is a powerful and engaging film. And stands out as one of the best films of the year so far.
